Did Freedom of Information troubles tip the balance in EU advice U-turn?

In all the welter of comment on the current ‘scomnishambles’ or ‘advicis’ crisis in which the Scottish Government have embroiled themselves, I haven’t yet seen an analysis that looks at whether the withdrawal of their appeal to the Court of Session has a Freedom of Information rationale behind it, and in particular the role of the Deputy First Minister in the decision.

Nicola Sturgeon, wanting to
 avoid a fight on two fronts?

It is of course, entirely possible that the sudden withdrawal of the Scottish Government’s appeal against the Scottish Information Commissioner’s ruling, was due to the new Constitutional Supremo (Nicola Sturgeon) looking at the contradictions in their position solely from a Referendum Campaign perspective and deciding to ditch what was very likely to have become another failed appeal. After all the track record of the Scottish Government vs the (respective) Scottish Information Commissioners does not show a good strike record for the SG. 

As a lawyer, Ms Sturgeon cannot have relished going to the Court of Session to argue that the Government shouldn’t have to tell anyone whether they had obtained legal advice or not (not, you understand, what that advice was - the refusal to reveal that was already accepted by the SIC). Especially as it appears, they had not!!

So is it then a coincidence that Nicola Sturgeon, in the reshuffle, also inherited the responsibility for Freedom of Information? Or that this burden currently involves her trying to pilot a widely-criticised Amendment Bill through the Scottish Parliament? Or did the additional contradiction of trying to claim to be ‘improving’ the FOI legislation, while taking the Information Commissioner to court, add the final straw to this particular camel’s back?

Indeed the Amendment Bill itself isn’t getting the plain sailing that was envisaged by the Minister who introduced it (Brian Adam MSP). It has been widely criticised by a number of organisations including the Campaign for Freedom of Information in Scotland, the STUC and the Commissioner herself, and is shortly due to be debated at Stage 1 in the Parliament. The Finance Committee is currently considering its Stage 1 report. By the look of the evidence sessions, the new FOI supremo got a much harder time than her civil servants had prepped her for - and from some of her own side! 

The SNP reshuffle of committee appointments, hasn’t assisted the Bill’s progress much, although Bruce Crawford’s appointment onto Finance is widely seen as an attempt to shepherd the Bill through. Interestingly the other new SNP appointment is Jean Urquhart MSP. Her commitment to openness is well-known. Will her recent resignation from the SNP group mean the shortest ever residence on a parliamentary committee?

At the bottom of this row are three issues: 

1. That the Bill does not address the main problem of FOI - the increasing use of non-public bodies (private contractors, housing associations, voluntary sector bodies and arms-length organisations - ALEOs) to deliver public services, resulting in the removal of FOI rights from the public.
2. How the law should ensure that such bodies are automatically added.
3. The attempted introduction of a further ‘absolute’ (ie non-challengeable) exemption covering communications with the monarch or the heir to the throne.

Given that the previous (minority) SNP government had at least started to address the first two issues when they dropped it prior to the last election, campaigners were surprised and disappointed that when the now majority, government found time to introduce new legislation, it failed to deal with them.

After FOI defeat over the financial implications of Local Income tax; the embarrassment of the row over disclosing whether the Scottish Government recommended Brian Souter for honours, and now the climb down over EU legal advice, it seems that Nicola Sturgeon is well-versed in the dictum - if you’re in a hole, stop digging! 

"I'll do it again, you know."

However her boss today claims that he would again refuse to reveal whether he had advice in the future. A statement that appears only too obviously to be a return to the bad old days of arrogance that Messrs Pringle & Co have been trying to move him away from. It is also a very different approach from his deputy. So much so, that it raises speculation about who took the decision to drop the appeal, and whether both the FM and the DFM agreed with it! I guess any such division won’t be revealed either!

In these circumstances it also becoimes interesting to watched the progress of the FOI Amendment Bill. The Stage 1 report is in discussion, a parliamentary debate approaches. Might there still be twists and turns ahead in what the Government obviously hoped would be a technical, tidying-up bill?

FREE Film show is next step in Right to Know campaign

International Right to Know day
This Friday (28 September) is International Right to Know Day, and the Campaign for Freedom of Information in Scotland, is marking it with a FREE showing of the classic US film about a President's attempt to hide criminal activity, and how this was revealed publicly - All the Presidents Men.  

This takes place at the Glasgow Film Theatre at 2.50pm. Sponsored by UNISON Scotland.

This film - directed by Alan J. Pakula - stars the youthful-looking Robert Redford and Dustin Hoffman as two journalists on the Washington Post (Bob Woodward and Carl Bernstein, who co-wrote the script) who break the story of President Richard Nixon's involvement in a criminal conspiracy to secure his re-election. While it starts with a minor break in at the National HQ of the Democratic Party, the story ultimately reveals a web of spying activity set up by the White House. Confirmation in the absence of FOI laws ('All White House transactions are confidential'), is obtained from a shadowy source - Deep Throat (who turned out to be the Deputy Director of the FBI!!

The screening is part of the CFoIS' campaign to extend the FOI laws in Scotland to cover outside organisations that provide public services, and will be followed by a discussion chaired by Rosalind McInnes, solicitor for BBC Scotland, with speakers from UNISON and CFoIS. 

Free tickets are available from the GFT box office on the day.

Contact the Campaign for Freedom of Information in Scotland for more information, or Chris Bartter on 07715 583 729

‘…gentle stirring sounds, Belied a deathly silence that lay all around.’

Spent an afternoon at Grantchester recently. An attractive village near Cambridge, probably best known either for the poet Rupert Brooke and especially for his poem The Old Vicarage, Grantchester. Or for the Pink Floyd track from Ummagumma - ‘Grantchester Meadows’, from which the title of this piece is taken.

Rupert Chawner Brooke, the
1910's answer to 'glitterati'.

Having walked there from Cambridge, we had a beer in one of the local pubs and then something to eat in the Orchard, where Brooke, and other of the ‘beautiful young litterati’ of the pre-first world war spent time. Indeed there is a small (and quite impressive) museum to Brooke there. It gave a view of an intelligent and privileged young man who in many ways seemed to have a particular gift for self delusion. He seemed to be constantly confused about who he should trust, love and support. He was apparently a socialist of a Fabian bent, but wrote five or six stirringly jingoistic military verses at the beginning of the first world war.

Indeed, these verses (along with The Old Vicarage, Grantchester) are probably the main reason for his fame. He was taken up by (among others) Winston Churchill who promoted the (by then dead) Brooke as the voice of The Soldier. 

In truth, it is unfair in the extreme to blame Brooke for this lionisation, and indeed given his lack of experience of the war, (he died in 1915 from  blood poisoning after Gallipoli, where we was not part of the landings. He is buried on the Greek island of Skyros) it may also be slightly unfair to blame him for the jingoism of his poetry. After all, both Wilfred Owen, and Siegfried Sassoon had to experience much of the ‘pity of war’ before they produced their greatest works, and Sassoon initially produced as militaristic verse as Brooke.

“To these I turn, in these I trust; 

Brother Lead and Sister Steel. 

To his blind power I make appeal; 

I guard her beauty clean from rust.” The Kiss

Charles Hamilton Sorley

However, there was another poet early in the first world war who not only saw the futility and horror before having to spend years in the trenches, but also possessed the objectivity to express that as a general truth. The objectivity of Owen’s Strange Meeting, rather than the direct attack of Sassoon’s Base Details if you like.

Charles Hamilton Sorley, like Brooke, died young (also in 1915) and had little or no time to experience the horrors of war, yet in the short time he did have he produced two remarkable poems. All the hills and vales along, and When you see millions of the mouthless dead, are significant for both their prescient recognition of the futility of war and the bitter sarcasm with which Sorley lampoons the pastoral glories of many of the pro-war poets.

How does this happen? That a less insightful poet receives far greater recognition than a better? Is it to do with privilege? Hardly, Sorley was the product of the same public school/oxbridge upbringing as Brooke (although Marlborough College/Oxford vs Brooke’s Rugby School/Cambridge). He was, as some might have guessed, Scottish - born in Aberdeen - but that wasn’t hugely significant in his upbringing. 

Rupert Brooke (a la the Archers)

It is surely down to the illusion perpetrated by the establishment in using Brooke’s poetry to shore up their false image of the glory of war. Even now, a statue of Brooke in the grounds of the Old Vicarage in Grantchester, shows him in battledress holding a book! Yet his experience of frontline warfare was limited to one day of limited action during the evacuation of Antwerp! 

Mind you, if the illusion of Brooke was false, it was largely perpetrated by other people. The family who now own the Old Vicarage, Grantchester are the Archers, Lord Jeffrey, and Lady Mary. Certainly Jeffrey is a literary figure who requires no outside assistance to create an illusion of qualification, or even truth!

Tales from the city-the fourth. Transports of delight.

Thank you, driver

A lesser-profiled event at the Assembly Rooms was a series of performances of Love Letters to the Public Transport System. Produced by the National Theatre of Scotland, this is a gem of a production, written, produced and performed by Molly Taylor. The premise of the monologue are a number of individual stories about love and busses, which spark other thoughts about the use we make of trains and boats and planes (or, well, busses), and the people who drive them. 

Molly Taylor

The piece cleverly interweaves individual's stories with Molly’s own attempts to contact bus and train drivers who have taken her on key journeys - and her lack of success in doing so. What it also sparked for me was a memory of my first impressions of Glasgow busses. Arriving in the city from the ‘underbelly of British capitalism’ I was struck by two things. Firstly, how no-one in Glasgow ever seemed to press a bell to get the bus to stop, getting up and standing by the driver (or on the platform) seemed to be the practice; but secondly how everybody thanked the driver on their way off! 

While the bell etiquette has changed, the #thankyoudriver  seemed to me then, (and still does) a remarkable practice that is not repeated anywhere else (Molly confirms that it isn’t the practice even in a similar city, like Liverpool). She ascribes the difference (in part) to the fact that elsewhere passengers exit busses through a centre door away from the driver, but although this has some superficial appeal, surely in Glasgow the history as elsewhere, was that busses had back platforms. What did Glasgow’s passengers do to express their gratitude then? Shout down the bus? Pass thanks to the conductor? No, I thought then, and still think that it is a positive decision by Glasgow (and, she says, other central belt passengers) to go out of their way to acknowledge people working on their behalf in public services. Despite much-publicised (and serious) increases in the abuse of our public service workers, and the rising tide of those insulated from public contact by headphones and MP3 players, it continues. Long may it do so.

The performance also touches on another (and probably linked) aspect of public transport and our reaction to it. Molly finds it impossible to actually track down the particular drivers that took her about. She does speak to drivers who have won service awards, nominated by their passengers for their care and work, but it seems very difficult to get to an individual driver (after the event) to say thanks. Or even to get the companies to respond! She contrasts this with the facilities set up to process, deal and respond to complaints. Are we become the destroyer of services? Are we so concerned with our own needs that we fail to tell people thanks for what they do for us? And more seriously, is there no room for public service operators to set up ways to reach individuals with praise, rather than only blame?

Love letters has already performed in Glasgow at the Tron, if it reappears near you, get along to see it. Quirky, humorous and ultimately positive, it is beautifully written and acted. It itself, goes some way to attempt to redress the balance. 

Tales from the city-the second, (and third). Talking (about) books.

You CAN judge a book by looking at the cover

One of the main reasons for going to Edinburgh at festival time, is to take in the decidedly civilised ambience of the Book Festival. Unlike the somewhat frantic hubbub of the city streets, Charlotte Square remains an oasis, and the events scheduled have a good chance of being successfully as advertised, something often lacking in the Fringe! (Mind you they do need to provide more seating in the cafe/bar areas!)

To the Square first to listen to Jon Gray and Jamie Keenan, expound their Twenty irrefutable theories of book cover design. Keenan and Gray are both exceptional book cover designers, whose styles seem to be both very different, and to fit together neatly. (see Jamie Keenan designs here http://www.keenandesign.com/index.html, and some Jon Gray here http://bookcoverarchive.com/gray318). It is no surprise to find they have previously worked together, and you will find yourself spotting books that you have noticed in shops (which after all, is the point) as you look at their portfolios.

Aaaaahhhhhh!!

The ‘Twenty theories’ covered a vast range of ideas, and principles, from standard design rules (on use of white space for example), to specific book considerations (not revealing important plot twists etc.). However the presentation needed trimming to get the best effect in the 45 mins available. Not yet available on line or in print (a book is in preparation), my favourite was the last. #20 When all else fails, use a picture of a cute kitten !  Jen Bowden in the Guardian has helped by listing the theories here. http://www.guardian.co.uk/books/booksblog/2012/aug/16/book-cover-theories-edinburgh-festival 

Another book-related presenting pair (aren’t they all book-related? Stop splitting hairs!) were John Crace and John Sutherland. Crace is the Guardian’s ‘Abbreviated Books’ columnist, parodying and condensing modern and classic fiction. He treated us to both David Copperfield, and Antonia Fraser’s memoir of Pinter, showing both sides of his work - homage to satire! The fact that he is a great Spurs fan too, helps my appreciation of him immensely!

John Sutherland

John Sutherland, was an academic lecturer in English Literature. The author of ‘Can Jane Eyre be happy’ and Where was Rebecca shot?’, he is used to approaching the classics from unusual angles. His current book Lives of the Novelists sets out to provide a huge history of fiction in 294 lives. As his examples from Stevenson and Scott proved, his penchant for an oblique eye has not been lost!

Future Festival Blogs

One of the problems re blogging on festival events is that if you’re at them, you’re not talking about them, and before you get round to do that, they’re finished (a bit like the 1960's really).  So I thought I’d do some more reflective stuff (code for too lazy to meet deadlines - lets hear it for Douglas Adams!). Look out for blogs on Past Labour ‘Leaders’, Oratory in politics, Franco and Spain and (in particular) Saying ‘Thanks’ to bus drivers.

Tales from the city - the first

As we are now able to, Doreen and I have decided to spend more time than usual in various parts of the eastern city at events arranged during August. Apparently they have a goodly number of them at that time, who would have thought it? I hope to keep up a regular blog of reviews.

Legends in tribute to the Legend

At the newly refurbished Assembly Rooms, the first event was Songs of Struggle, an extension of the successful concerts arranged to celebrate the UCS 40^th Anniversary. Some of Scotland’s greatest singers came together and put on a concert inspired by the birth centenary of political activist and folk legend - Woody Guthrie.

Alastair MacDonald

Alastair MacDonald kicked off the show with Irish traditional song Kelly, the boy from Killane. he followed it with a classic ‘Thurso Berwick’ (Morris Blythman) song Perfervidum Ingaenium Scotorum. It set the good size audience up for a sparkling evening. While there were a good number of classic left political songs, set through it were more unusual items. Sheena Wellington, who followed MacDonald, set a more laid-back tone with her a cappella songs (including her own Women o’ Dundee). Dave Anderson - fresh from his success in Oran Mor’s Summer panto - Alice in Poundland, revisited Wildcat’s play about the 84 Miners’ Strike with his version of Dead Liberty. The balance problem between the keyboard and voice didn’t lose too much of the context.

Arthur and Brian at the UCS
concert in the Old Fruitmarket

It was left, appropriately enough, to Arthur Johnstone, and Brian Miller to bring us to the specific Woody Guthrie songs of the night, highlighting Ramblin Round, (a nice version of this song by Bob Dylan can be heard here -  http://www.youtube.com/watch?v=76kx2CPXiyE ) and Do Re Mi.

The short tribute ended with the ensemble performance of This land is your land, and sent the pleased audience on their way with Guthrie’s So long (its been good to know you).

Short, though the concert was, it was a fitting tribute. With the Guthrie songbook hardly even pauchled, never mind plundered, his hundredth birthday has surely some more mileage yet?

And did those feet...?

It is probably taking a step too far to see Danny Boyle’s inclusion of suffragettes, trade unions and the NHS in his Olympic opening ceremony as a left ‘claim-staking’ of cultural events in the UK. (Mind you wasn’t it great that so many right-wing politicians and media made fools of themselves berating the ‘lefty propaganda’?). However, the left has certainly, in recent years evinced an increasing interest and involvement in cultural and artistic events.

A number of items at this year’s Edinburgh Fringe Festival point to this revival of socialist and working-class interest in, and use of, cultural and artistic activities to reach people and to raise their profile in general.

Tony Benn

At the Assembly Rooms, produced/programmed this year by Tommy Sheppard (himself no stranger to radical ideas), old skool left Labour ex-Parliamentarian, Tony Benn will be taking the stage to introduce a forthcoming filmed biography - Will and Testament. This has been over a year in the gestation and covers, among many struggles, Benn’s involvement in the 1971/2 Upper Clyde Shipbuilders work-in. This was a struggle he remembered last year as he took part in the Gala Concert staged to mark the 40^th Anniversary in Glasgow’s Mitchell Theatre - many attendees will remember the film crew following Tony around.

Woody Guthrie

In addition a number of the other participants in that concert (and the subsequent Celtic Connections concert) are coming back together to mark another working-class anniversary - the centenary of the birth of Woody Guthrie, dust bowl poet and singer, communist and inspirer of many of today’s folk singers, most notably Bob Dylan. Arthur Johnstone, Alistair MacDonald, David Anderson and Sheena Wellington lead the line up paying homage to Guthrie.

While this might be seen as the product of successful concerts and the desire of a new producer/programmer to strike out in a new direction from his predecessor, in fact these events are the latest examples of might be seen as a resurgence of ‘socialist culture’ that seems to be taking hold.

MayDay

Previous events included the UCS 40^th Anniversary Concerts, and other highlights like the screening of Cinema Action’s films of the Work-in, but there are also the two years of cultural activity around Glasgow’s traditional MayDay march. Although low-key, these are increasingly being distinguished by the rise in the number of campaigning organisations staging events. Last year the programme featured Scottish Left Review, Cuba Solidarity, and the International Brigades Association as well as Glasgow’s Trades Union Council and the co-ordinating Glasgow Friends’s of MayDay.

Our Class, Our Culture

Also Scotland is seeing a series of increasingly respected Morning Star Our Class, Our Culture discussion sessions. These last have featured well-known artistic performers, writers and composers, such as Dave MacLennan, Alistair Findlay and William Sweeney, and have covered the contribution of different genres to working class struggle, and the impact of different artists - like Robert Tressell. 

Tressell also features at Edinburgh with a production of Stephen Lowe’s two-handed dramatisation of his Ragged Trousered Philanthropists, produced by Townsend Productions and Unite the union, and a South African Season also features, led by Athol Fugard’s Statements After an Arrest Under the Immorality Act and Woza Albert! from The Market Theatre in Johannesburg (at the (other) Assembly).

The awakening of trade unions to the profile-raising and appeal-broadening sides to this cultural activity is significant. The UCS and Tressell productions have been financed largely by Unite the union, and the other large player, UNISON has been running a number of interesting and innovative Mobilise sessions around Scotland - bringing singing, music, comedy and cartooning directly into the fight. 

A 'Golden Thread'

As someone who has long argued that the use of culture and the arts should be much more of a ‘natural’ element for trade unions, and the left in general, these developments are welcome. I don’t think I am alone, either, in seeing in the flashmob, and other theatrical stunts produced by UK Uncut and the Occupy movements, a practical application of this link. While it should not, (and cannot successfully) be separated from the need to have a clear political direction and a planned campaign, the use of music, drama, imaginative writing and all the entertainment of a well produced event needs to be increased. 

After all, as Boyle himself said his ceremony had  “a single golden thread of purpose - the idea of Jerusalem - of the better world, the world of real freedom and true equality…”. Maybe my original theory doesn’t sound a step too far after all! I suspect Woody Guthrie would have subscribed to Boyle's " ...belief that we can build Jerusalem. And that it will be for everyone”.